Monday, November 19, 2012

LA Master Chorale presents Monteverdi's Vespers of 1610

By Douglas Neslund

A very large, almost sold out Walt Disney Concert Hall
audience heaped enthusiastic applause and approval on Maestro Grant Gershon and
his fellow artists at the conclusion of Claudio Monteverdi’s sprawling Vespers,
described in Thomas May’s excellent program annotations as “a diverse, flexible
collection of numbers available to be excerpted or performed in various
contexts. This diversity was in any case surely meant to display the full range
of Monteverdi’s compositional prowess.”

Monteverdi lived at a most interesting time for any composer:
at the end of the long Renaissance period in which unmetered music was the rule,
mostly in the sacred context, which was challenged by the metered secular
madrigals that the composer wrote in his earliest years, a collision of styles
that drew criticism down upon his head. Publication of the Vespers, also known
as Vespro della Beata Vergine, was
his answer to the critics.

Although published in 1610, elements of the Vespers were
probably written over a ten-year span prior to that year. There are 13 movements, most of which may be
performed independently of the others, but which are largely comprised of Psalm
settings interspersed by highly florid solos, duets and smaller ensembles that
allow for individual vocal fireworks, some of which are credited to Monteverdi’s
own creativity and not carried over into the newly emerging, dryer early Baroque
style, and some of which were. It is said that ladies of Ferrara and Mantua
vied with each other to produce the most astounding vocal displays.

Such displays were generously performed by several soloists
drawn from the ranks of the Master Chorale itself. They were sopranos Suzanne Anderson and
Claire Fedoruk; mezzo soprano Janelle DeStefano; tenors Daniel Chaney, Michael
Lichtenauer and Matthew Tresler; baritone Scott Graff, and bass Reid Bruton.
All were excellent advocates of Monteverdian style points, with Ms. Fedoruk and
Mr. Chaney meeting the greatest challenges.

Mr. Tresler’s “Nigra
sum” was perhaps the most memorable for artistic shading matched to the
text. The duet-cum-trio “Duo Seraphim”
(Two Angels) begun by Messrs. Cheney and Lichtenauer (previously incorrectly identified as Mr. Graff), later with the addition of Mr.
Tresler when the text changes to “Tres
sunt” (There are three), made magic. A personal favorite was the Marian
antiphon “Ave maris stella” (Hail,
Star of the Sea) brilliantly worked out by Maestro Gershon, starting with an a
cappella first stanza, adding to that a solo theorbo accompaniment on the
second stanza, joined in the third by the continuo, the next three stanzas sung
by Ms. DeStefano, Ms. Fedoruk and Mr. Graff, with all forces combining at the
conclusion.

Throughout, the Master Chorale sang with expected
brilliance, although for this occasion, a “small call” of 40 voices was
employed. In the early 17th century, so far as we know, this music
was never performed in a venue the size of Disney Hall, so one can forgive Ms.
Fedoruk’s having to choose between projecting to the topmost balcony and
singing the delicate filigree to which her voice is so well suited. Her artistry
was never in question although not every lower note could be heard.

Maybe it was Maestro Gershon’s intimate association with Los
Angeles Opera, where he presides as chorus director, that predisposed a
constant movement on stage, but Chorale members were given a virtual road map
of stage placements, which humorously led to Mr. Chaney’s forgetting which side
he was to be on, and his tip-toeing across to the other side, to the audience’s
great amusement. He was not alone in losing focus on placement, by the way. No
matter. The singing was always superb.

Los Angeles’s own world class Musica Angelica Baroque
Orchestra accompanied, with an equally small-sized component of 13 players, of
whom Ingrid Matthews and Janet Strauss impressed greatly with their embellished
violin interludes in various movements, but particularly in the Sonata sopra: Sancta Maria, ora pro nobis.
Maestro Gershon kept a perfect balance between instruments and voices
throughout, which is not an easy task in a series of movements constantly shifting
participants. The long, sustained applause at concert’s end endorsed Maestro
Gershon’s choice of the Vespers, and the utterly musical product that resulted.